Gender in science

Final paper in History of Science and Technology with Myles Jackson – see also the presentation version

When we ask what the field of gender studies has contributed to understanding the relationship between science and society, we must separate two classes of feminist critique: discussions of equity, and discussions of content. The equity critique is straightforward: women are underrepresented in the sciences, in terms of employment and academic admissions, public recognition, and prestige. The remedies are equally straightforward, at least in theory: enforce anti-discrimination rules, actively recruit female candidates, and work to create more equitable workplace and school environments. The execution of these remedies is challenging, but there is little controversy about whether or not we should pursue them.

How It Works

If we examine gender theorists’ critiques of the content of science, the issues become more complex and contentious. Such content critiques include: what if science is excluding not just women, but femininity? Beyond the harm to women who wish to be scientists, does this exclusion also harm science itself? Why should gender bear on the gathering of objective facts about nature? If we argue that science is socially constructed, do we then have to let go of the idea that there can be any truly objective facts? If there are objective facts independent of the observer’s social context, is there a value to a ”feminist science” that is distinct from just doing better science?  Continue reading “Gender in science”

Duke Ellington, Percy Grainger, and the status of jazz in the music academy

On October 25, 1932, Percy Grainger invited Duke Ellington and his orchestra to perform “Creole Love Call” as part of a music lecture at New York University. It was the first time any university had invited a jazz musician to perform in an academic context. I will argue that the meeting of Grainger and Ellington is a prism refracting the broader story of the music academy’s slow and reluctant embrace of jazz. This story is, in turn, a cultural reflection of the broader African-American freedom struggle.

Percy Grainger and Duke Ellington, 1935

Ellington has come to embody the cultural prestige now enjoyed by jazz. He appears on Washington DC’s state quarter, and his statue stands at the northeast corner of Central Park in New York City. In 1932, however, Ellington was known to official music culture only as the leader of a popular dance band and the writer of a few catchy tunes. Although he was already a celebrity, few white people outside of jazz fandom considered Ellington to be a serious artist. That year, he received his first favorable review from a classical critic, followed by endorsements from Percy Grainger and a few other figures from the music establishment. This praise was unusual at the time. Most cultural authorities of the era held jazz in low regard, assigning the same value that hip-hop holds in academic circles today: undeniably popular, vibrant perhaps, but deficient in musical quality, and even, according to some critics, a threat to the nation’s morals.

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In praise of the Reflex Re-Edit

The Reflex is a London-based French DJ and producer named Nicolas Laugier. He specializes in a particular kind of remix, the re-edit, in which you rework a song using only sounds found within the song itself. Some re-edits keep the original song more or less intact, and just give it a punchier mix, a more DJ-friendly intro and ending, and maybe a new breakdown section. Other re-edits (the ones I find more interesting) radically transform their source material by moving pieces around in unexpected ways. Read this Greg Wilson interview to learn more about Laugier’s process.

The Reflex

I love Laugier’s tracks on several levels. First, he has a fine ear for mixing, and his edits always have spectacular clarity and depth, often sounding better than the originals. There’s intellectual pleasure, too: it’s fun to hear a fresh take on these deeply familiar recordings, and the music educator in me adores the idea of using music itself as a medium for music criticism. Laugier implicitly critiques the music he edits, saying, “This song is cool, but wouldn’t it be cooler if the drums were more prominent, and if you could hear this keyboard part in isolation, and if there was a longer groove in the intro?” I always prefer music analysis that I can dance to. Continue reading “In praise of the Reflex Re-Edit”

The fake and the real in Chance the Rapper’s “All We Got”

[I wrote this before Kanye went full MAGA; I have since lost some enthusiasm for him.]

Every semester in Intro to Music Tech, we have Kanye West Day, when we listen analytically to some of Yeezy’s most sonically adventurous tracks (there are many to choose from.) The past few semesters, Kanye West Day has centered on “Ultralight Beam,” especially Chance The Rapper’s devastating verse. That has naturally led to a look at Chance’s “All We Got.”

All the themes of the class are here: the creative process in the studio, “fake” versus “real” sounds, structure versus improvisation, predictability versus surprise, and the way that soundscape and groove do much more expressive work than melody or harmony.

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Ngoma aesthetics after apartheid

Writing assignment for Ethnomusicology: History and Theory with David Samuels

Louise Meintjes (2017) Dust of the Zulu: Ngoma Aesthetics After Apartheid. Durham: Duke University Press.

Brian Larkin (2008) Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham, NC: Duke University Press.

Dust of the Zulu

The image of Zulu men dancing, singing and drumming carries heavy symbolic weight. For black South Africans and white outsiders alike, this image represents “real” African culture, evoking a glorious warrior culture. Cultural brokers (entrepreneurs, musicians, and politicians) “wager on the warrior” (Meintjes 2017, 241) to evoke this romantic past. However, colonizers have appropriated this same image to justify the dehumanization and exploitation of African bodies for labor. Ngoma dancers themselves use the “long past” to relieve the painful burden of the immediate past, and to reach for an “undetermined future” (255), in the face of the risk of playing into colonizers’ fetishistic stereotypes. This risk is magnified when ngoma moves onto the world stage, losing its context.

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Four bars of Mozart explains everything humans like in music

I’m not arguing here that everyone loves Mozart, or that I’m about to explain what all humans enjoy all the time. But I can say with confidence that this little bit of Mozart goes a long way toward explaining what most humans enjoy most of the time. The four bars I’m talking about are these, from “Eine Kleine Nachtmusik.”

These four bars of music demonstrate that humans like:

  1. Repetition
  2. Breaks in the repetition
  3. Repetition of the breaks in the repetition
  4. Breaks in the repetition of the breaks in the repetition
  5. Recursive layers of patterns of breaks and repetitions

In order to prove this to you, I’m going to talk you through these eighteen notes one at a time.

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Aurality

Writing assignment for Ethnomusicology: History and Theory with David Samuels

Ana Maria Ochoa Gautier (2014) Aurality: Listening and Knowledge in Nineteenth-Century Colombia. Durham: Duke University Press.

Aurality

The nineteenth-century Colombian writing discussed by Ochoa Gautier, like Western convention generally, opposes “art” and “folk” musics. “Art” music is comprised of works created by named authors, transmitted visually via scores, and speaking to transcendent experience beyond mundane reality. The work is an autonomous object that can be considered free of context. “Folk” music is a mass of common property, transmitted orally/aurally, and is of a part with daily life. Indeed, the folk object only makes sense in its social and cultural context. The folkloric voice is authorless, and therefore lacks authority. While the aesthesis of folklore may represent an ideal of “heightened sensorial perception and emotional expressivity” (172), its anonymity and adherence to tradition limits its potential for creativity.

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Theorizing sound writing

Writing assignment for Ethnomusicology: History and Theory with David Samuels

Theorizing Sound Writing

Deborah Kapchan, editor (2017) Theorizing Sound Writing. Middletown: Wesleyan University Press.

My doctoral advisor Alex Ruthmann, when evaluating some piece of technology used for music education or creation, asks: what does the technology conceal or reveal? Writing is what Foucault called a “technology of the self,” and as such, conceals and reveals as well. Sound writing is a way to transduce the ephemeral bodily experience of listening to the timelessness of the page. What does this transduction conceal? What does it reveal?

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Ableton Loop 2017

Last week I was Ableton’s guest for Loop, their delightful “summit for music makers.” I was on a panel about technology in music education, and I got to meet a lot of amazing people and hear some good music too. Here’s my live Twitter feed from the event if you want a fine-grained accounting. Otherwise, read on for some high points.

Loop poster

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White nationalist music in Sweden

Writing assignment for Ethnomusicology: History and Theory with David Samuels

Benjamin Teitelbaum’s study of Nordic nationalist music could not be any more timely.

Lions of the North

Gramsci diverged from classic Marxism when he argued that shifts in the cultural sphere create the conditions for political or economic change, rather than the other way around. Since Swedish nationalists do not have enough majority appeal for electoral politics, they see better prospects in the social diffusion of ideas and cultural values, i.e. “metapolitics.”

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